By Michael Stanley
Smashed cranium, snapped ribs, and a cloying scent of carrion. depart the physique for the hyenas to devour—no physique, no case.
But whilst Kalahari video game rangers locate a human corpse mid-meal, it seems the homicide wasn’t excellent in the end. adequate proof is left to indicate foul play. Detective David “Kubu” Bengu of the Botswana felony research division is assigned to the case.
Kubu’s character and body fit the moniker. His nickname is Setswana for hippopotamus—a doubtless docile creature, yet one of many deadliest at the continent. underneath Kubu’s friendly floor lies a similar unwavering get to the bottom of that makes the hippopotamus so deceptively risky. either will trample every thing of their route to succeed in an goal. And starting with the suspicious carrion dying, the smart detective battles to solve the tangle of crime and corruption.
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Additional info for A Carrion Death (Detective Kubu, Book 1)
Ferreira da Rosa was even hired to write a government-sponsored guidebook to Rio de Janeiro. 6 Both authors depict the illuminated, newly inaugurated Avenida Central as evidence that Rio de Janeiro had progressed out of a deplorable past and begun a glorious future. The clear demarcation of a before and after establishes a sense of order and improvement via public lighting. Within the first three 28 BRAZIL UNDER CONSTRUCTION paragraphs of Ferreira da Rosa’s crônica, he mentions three times that Rio de Janeiro used to be plagued by badly lit streets, suggesting the moral reprehensibility of that darkness.
For well over a decade, electricity had played a central role in world fairs’ display of science and spectacle. Since the 1893 Columbian Exposition in Chicago, fairs’ elaborate electric lighting, in particular, represented the power of a new scientific age of electricity, which transfigured night in a manner that seemed to defy nature (Gunning 428). 2 “Exposição Nacional—Avenida dos Estados—vista do alto do portão monumental” (National Exposition—Avenue of the States—View from above the Monumental Doorway).
9 In so doing, he represents the “civilization” and “comfort” of post-bota-abaixo Brazil as characteristics that do not magically appear, but instead must be created by workers. The lamplighters and other gas company workers paradoxically use darkness to make themselves visible: “de repente, só ao cruzar os braços, [uma classe de oprimidos] punha em sombra uma cidade inteira” ‘suddenly, just by crossing its arms, [an oppressed class] made an entire city go dark’ (Cinematographo 194). ’ (193). While previously mentioned portrayals of Rio de Janeiro’s streetlights link light to civilization, João do Rio complicates the connection by drawing attention to the people marginalized by the “Rio civilizes itself” endeavor.